When Diane Arbus turned her lens on `ordinary' women, she brought new meaning of the term photogenic.
Here, Robin Muir welcomes the first show for 10 years, from a photographer whose work didn't flatter or deceive By the time of her death in 1971 in Greenwich Village, New York City, Diane Arbus, had changed documentary photography for ever.
The ambiguous, uncertain balance of the film leans on the alternation of a structure that refers to the canon of documentary (made of interviews and archive footage from Robbe-Grillet’s past) with sections about erotic encounters.
The latter are formulated according to a considerably different style, more in line with fiction film.
Annelies trba shows photographs of her childrens lives taken over a thirty year period.
The festival program for the 5th Netherlands Transgender Film Festival is now online!
But a book of her magazine work, published in 1984, demonstrated that to most of those commissions she brought a different, although no less tender, sensibility.
He spent most of his time on the left bank in Saint Germain des Prés where he hung out with a group of disillusioned bohemians who had a sombre outlook on life but also imbued him with a sense for style and class that particularly appealed to him.
It produced a gem of a book that is coveted by art collectors, ‘Love on the Left Bank’ (1955), wherein Van der Elsken extensively documented their lives in cafes, in clubs, on the streets and the Paris metro.
One can imagine it could also be a source of inspiration for a fashion editorial – something with the gravitas of a feature shot by Steven Meisel for Italian Vogue.
Dumas selected two pictures that featured in ‘Love on the Left Bank’.